AS English Language ENGB2
ENGB2 - Creating Texts
The aim of this coursework unit is to allow candidates the opportunity to develop and reflect upon their own writing expertise. Candidates will be required to produce a folder comprising two pieces of original writing, differentiated by primary audience, purpose and genre, and two commentaries which explore the writing process and assess the success of the individual pieces.
The commentary ASSESSMENT OBJECTIVES are below:
The commentary ASSESSMENT OBJECTIVES are below:
For the coursework pieces, candidates are assessed on their ability to 'demonstrate expertise and creativity in the use of English in a range of different contexts informed by linguistic study (A04)' Top band marks will be awarded to those students who produce pieces with ORIGINALITY. Their genre choices will be ambitious and challenging; range and variety will be evident throughout their folder...
ENGB2 - Writing A Monologue 09/10/13
A monologue is a moment in a play, film, or novel, where a character speaks without being interrupted by any other characters. These speeches can be addressed to someone, or spoken to the actor's self or to the audience, in which case they are called soliloquies. Another type of this speech, especially in novels, is the interior monologue, where a character has a long bout of thinking personal thoughts that aren’t interrupted by speech or actions. This technique may also be used in film, where a voiceover provides the inner thoughts of the character.
This type of speech can serve in a number of ways. It can forward the plot by signifying the character’s intentions; it can reveal information about the character’s thought processes, or it may simply serve to reveal more about that particular character. It also gives actors an opportunity to express dramatic range.
Below is Emily Kilkelly's dramatic monologue, written from the perspective of a prostitute, circa 1888.
Thank you to Emily for agreeing to share this with the class.
This type of speech can serve in a number of ways. It can forward the plot by signifying the character’s intentions; it can reveal information about the character’s thought processes, or it may simply serve to reveal more about that particular character. It also gives actors an opportunity to express dramatic range.
Below is Emily Kilkelly's dramatic monologue, written from the perspective of a prostitute, circa 1888.
Thank you to Emily for agreeing to share this with the class.
Below are two iconic monologues.
The first, is Charlie Chaplin's 'The Great Dictator.'
The second, is Quint's 'Indianapolis' from the movie, Jaws.
If you do choose to write a monologue for your ENGB2 coursework, you will need to select a style model similar to the monologues below. Your style model needs to be a piece that has inspired you to write your own.
The first, is Charlie Chaplin's 'The Great Dictator.'
The second, is Quint's 'Indianapolis' from the movie, Jaws.
If you do choose to write a monologue for your ENGB2 coursework, you will need to select a style model similar to the monologues below. Your style model needs to be a piece that has inspired you to write your own.
I'm sorry, but I don't want to be an Emperor, that's not my business. I don't want to rule or conquer anyone. I should like to help everyone if possible, Jew, gentile, black man, white. We all want to help one another, human beings are like that. We all want to live by each other's happiness, not by each other's misery. We don't want to hate and despise one another. In this world there is room for everyone and the good earth is rich and can provide for everyone.The way of life can be free and beautiful. But we have lost the way.
Greed has poisoned men's souls, has barricaded the world with hate; has goose-stepped us into misery and bloodshed. We have developed speed, but we have shut ourselves in; machinery that gives abundance has left us in want. Our knowledge has made us cynical, our cleverness hard and unkind. We think too much and feel too little. More than machinery we need humanity, more than cleverness we need kindness and gentleness. Without these qualities life will be violent and all will be lost. The aeroplane and the radio have brought us closer together. The very nature of these inventions cries out for the goodness in men, cries out for universal brotherhood for the unity of us all. Even now my voice is reaching millions throughout the world, millions of despairing men, women and little children, victims of a system that makes men torture and imprison innocent people. To those who can hear me I say: do not despair. The misery that is now upon us is but the passing of greed, the bitterness of men who fear the way of human progress. The hate of men will pass and dictators will die, and the power they took from the people will return to the people and so long as men die liberty will never perish. Soldiers: don't give yourselves to brutes, men who despise you and enslave you, who regiment your lives, tell you what to do, what to think and what to feel, who drill you, diet you, treat you as cattle, as cannon fodder! Don't give yourselves to these unnatural men, machine men, with machine minds and machine hearts. You are not machines! You are not cattle! You are men!! You have the love of humanity in your hearts. You don't hate, only the unloved hate. The unloved and the unnatural. Soldiers: don't fight for slavery, fight for liberty! In the seventeenth chapter of Saint Luke it is written: - "The kingdom of God is within man." Not one man, nor a group of men, but in all men: in you! You the people have the power, the power to create machines, the power to create happiness. You the people have the power to make this life free and beautiful, to make this life a wonderful adventure. Then, in the name of democracy, let us use that power, let us all unite! Let us fight for a new world, a decent world that will give men a chance to work, that will give you the future and old age and security. By the promise of these things, brutes have risen to power, but they lie. They do not fulfil their promise, they never will. Dictators free themselves but they enslave the people. Now let us fight to fulfil that promise. Let us fight to free the world, to do away with national barriers, to do away with greed, with hate and intolerance. Let us fight for a world of reason, a world where science and progress will lead to all men's happiness. Soldiers! In the name of democracy: let us all unite! |
Japanese submarine slammed two torpedoes into our side, chief. It was comin' back, from the island of Tinian to Laytee, just delivered the bomb. The Hiroshima bomb. Eleven hundred men went into the water. Vessel went down in twelve minutes. Didn't see the first shark for about a half an hour. Tiger. Thirteen footer. You know how you know that when you're in the water, chief? You tell by lookin' from the dorsal to the tail.
What we didn't know... was our bomb mission had been so secret, no distress signal had been sent. Huh huh. They didn't even list us overdue for a week. Very first light, chief. The sharks come cruisin'. So we formed ourselves into tight groups. You know it's... kinda like ol' squares in battle like a, you see on a calendar, like the battle of Waterloo. And the idea was, the shark comes to the nearest man and that man, he'd start poundin' and hollerin' and screamin' and sometimes the shark would go away. Sometimes he wouldn't go away. Sometimes that shark, he looks right into you. Right into your eyes. You know the thing about a shark, he's got...lifeless eyes, black eyes, like a doll's eye. When he comes at ya, doesn't seem to be livin'. Until he bites ya and those black eyes roll over white. And then, ah then you hear that terrible high pitch screamin' and the ocean turns red and spite of all the poundin' and the hollerin' they all come in and rip you to pieces. Y'know by the end of that first dawn, lost a hundred men! I don't know how many sharks, maybe a thousand! I don't know how many men, they averaged six an hour. On Thursday mornin' chief, I bumped into a friend of mine, Herbie Robinson from Cleveland. Baseball player, boson's mate. I thought he was asleep, reached over to wake him up. Bobbed up and down in the water, just like a kinda top. Up ended. Well... he'd been bitten in half below the waist. Noon the fifth day, Mr. Hooper, a Lockheed Ventura saw us, he swung in low and he saw us. He's a young pilot, a lot younger than Mr. Hooper, anyway he saw us and come in low. And three hours later a big fat PBY comes down and start to pick us up. You know that was the time I was most frightened? Waitin' for my turn. I'll never put on a lifejacket again. So, eleven hundred men went in the water, three hundred and sixteen men come out, the sharks took the rest, June the 29, 1945. Anyway, we delivered the bomb. |
Commentary Checklist
Download your own copy of the checklist below:
commentary_checklist.doc | |
File Size: | 41 kb |
File Type: | doc |